Hi, guys, it’s. Melissa, we’ve developed le a today. I’m here at white dress by the shore, and I want to talk to you a bit about bustled styles, so I have a few different styles up down here, and I want to go through What may be the best method to bustle the gown per the dress and also per the individual. What I always like to stress to. My brides is that there really is no right or wrong style to choose, but sometimes a dress does really lend itself to one style versus the other, so the two main bustle style that we use here are traditional and French. So I want to just demonstrate here on my middle gown. What each of those is so you can get a feel and hopefully it will help you to decide so the first dress that I have here is a beautiful crepe gown. Buttons down the back. It’s more of either a trumpet style fit-and-flare. I just have that really pretty sort of delicate extension off the back, so I put some pre marks pretty pre pinned it if you will, and first, I’m going to show you what a traditional bustle looks like, so a traditional bustle is when we take the fabric of the train and we’re gonna bring it up and over and for the demonstration. I’m just going to pin everything on my samples, So what I would do in this case is I would typically reinforce a couple of the buttons along that back line, and then I would put a loop that we would be able to pull out and attach to the given button. So what it’s gonna do? Is it’s going to make sort of this triangular shape off the back? And then when you lift it up, it’ll drag just a little bit on the floor. We can bring it up a little bit higher, but sometimes it’s nice to have that little bit of a romantic kind of sway on the floor, and now we basically bring it up. You see that it does sort of end up making you a little pocket here? I always like to tuck those in just to make it more conical in the back, the number one thing to remember about the traditional bustle, though, is that unfortunately, because of its nature, it is a little bit more delicate. So if you are afraid that someone’s going to step on you, you’re going to be really close with everyone, or if you’re really really into dancing. I always recommend we do the French, so the French style is the kind that comes underneath and what we do with that is we have ties and we like to color coat our ties where we and so in this case, it’ll only be one tie up so really no need, but when we get that up like that, it basically kind of inverts that pocket. I’m gonna bring it up a little bit higher and same thing we can have a little bit of drag on the floor and I’m gonna turn it out, so we continue that line of buttons and again. What’s great about the French bustle is that because it’s tied because the ties are stitched to the inside of the dress. It is a little bit sturdier. We can’t always use the French bustle and I’ll kind of demonstrate why in a moment, but it’s a really great bass line. It’s definitely the preferred. I think, but now I’m gonna move over to this beautiful Mikado gown. So this actually has two letters. This outer part is actually part of this Beautiful bow, so Im. Just gonna get that off to the side for a minute because I want to work with the dress. Now weave down here. I would recommend to a bride that this be done in the French style. The reason being that this fabric has so much body. Yes, we could, of course, add buttons and loops or hooks and the eyes to get all this up, but when we do it that fabric because of all that body, it tends to kind of kick out, and it adds a little sort of weight in the back that I would think is that’s great, particularly for this style given the fabrication. So in this case, I’m gonna pin it up to the French and here in this case because we would do about three pickups, Probably if the gala wearing, it was about as tall as this man again, so because we would do the three pickups, we would color code the ribbons underneath so we would do matching colors to the outsides and you would tie them off underneath so again. It’s that beautiful inverted pocket and what? I love about the French bustle on a fit-and-flare dress or a trumpet style dress like this is. It continues to give that really nice shape through sort of the rear and then that fitted no sand through the thighs before it does the kick back out. I think it really keeps the integrity of the design. Sometimes when you have a traditional bustle and it’s pulling, it can pull the fabric away from you again. It depends on the fabrication. It depends on the weight of the dress. So now that I have this beautiful overlay from the bow. We can do the same thing with that now because this may flop around. I may choose to do a loop and a buck and on the inside versus with ties. Because when she’s kind of walking around, I don’t want people to see strings hanging off her back. So just a little problem Solved sometimes happens and same thing here. This makes this really beautiful sort of inverted conical shape and we get it to flare along with the dress, so it really keeps the integrity of that design. So that’s the French and then over here. What, I’ve gone ahead and done that I want to show you. This is actually a nice a-line dress, so it has this beautiful sort of striped like chiffon layer on top organza. It’s really light and lovely, but it does have the horsehair trim at the bottom. So I’m going to just kick this out of the way for a moment, just because I want you to see the underpinning, so when I was getting ready for this demonstration actually went ahead and tried to do this in the French style, typically when we have a more sheer fabric, What we’ll do is still a French, but we can use an organza ribbon. I’m gonna we just tie knots on the ends of the ribbon, so one knot ties to the other one with one, not two nuts to two knots, etc, etc. But I found that when I did it because of this sort of body giving the stripes see what happens when I sort of turned it up, it kind of adds. This weird kind of fluff, and it was a bit too extra, and I didn’t like it. So what I did was I went ahead and I pinned the base in a traditional fashion. So what that is is coming up and over and in this case. I would use sort of this where this stripe is. I would do my buttons and loops on there. Just because there’s a little bit of reinforcement. There also happens to be quarter panel seams. So when I had that, I know that I can get a little bit of extra strength, so I’m not as afraid to do a traditional on a style like this. So see how we’ve taken that train and we’ve brought it up off the floor now because of this design. I have this beautiful over layer here very similarly to the bow that we had on this gal and same thing if I wanted to bring it underneath, it’s okay, but it kind of does a little bit too much drama for my personal taste and what I love about this is they always like to try and keep the integrity of the actual design of the dress. Now I could take this and go traditional, and maybe start from a little lower and get it right up here. I could see they’re just an opening to allow for the zipper, so I could always hook it here and make this trait which I think is just fine, but the other thing I can do because this whole outer layer is detached. I would actually consider hiding a loop or a hook and a button up here and getting it onto her waist. Because what that does is it sort of keeps that beautiful a-line shape coming from her waist like the rest of the dress, so you can see. The tip is just off the floor and then she’s ready to dance. So those are a couple different ways that you can do. The bustles like. I said the traditional and the French again Given the style of the dress. You may choose to go one or the other. I often find that bustles are very polarizing, so some people really love and really hate one or the other, but always talk to your seamstress and kind of decide what’s best.